volcanohunter

It may be very optimistic, but the National Opera of Ukraine has scheduled the opening of the next season for July, with a gala concert on July 10th, followed by Raymonda on the 11th. They're not selling tickets yet, though. https://opera.com.ua/en

Not long-winded at all! The topic is hugely important right now.

I don't doubt it. But Digital Theatre, which began by offering West End shows, has struggled with that mandate, first offering, and then rescinding the possibility of downloading the productions. (I bought a few of the downloads myself and now they're just taking up space on my computer because they're locked.)

Giuliano Peparini's The Nutcracker for the Roma Opera Ballet, with Rebecca Bianchi, Michele Satriano and Claudio Cocino

Realistically, I think it helps to have Hollywood actors, especially those millions have watched on television, if audiences can see them in something they wouldn't have a chance to stream on Netflix, and would probably never have an opportunity to see in person. The theater streaming platforms that already exist may indeed get a boost now. But I suspect the key to their viability is having a large library of performances to offer subscribers, because I can't imagine people sticking with a platform if they get through the archive in a matter of a few months.

Truthfully, I think it does. I remember a particularly dreadful ballet on a "popular" theme with pretty flashy production values. A non-ballet acquaintance went and declared that she loved it. In my best non-judgmental way I asked her what she loved about it. She replied: "the costumes."

This is the final week to watch La Scala's Covid streams on Raiplay. So if you haven't yet watched the Nureyev production of The Sleeping Beauty with Polina Semionova, the Nureyev production of Don Quixote with Natalia Osipova, the Holmes production of Le Corsaire with Nicoletta Manni, Mauro Bigonzetti's Mediterranea with Massimo Murru or any of the opera broadcasts, this is your chance.

I don't wish to divert the thread too much off topic, but Alice's Adventures in Wonderland is one of the streams offered by the Royal Danish Ballet. So although it was listed on the "free streams" thread some time ago, I'll add it here since the subject has come up. I'm not a great specialist on the ballet because I don't love it, but it seems to me that Wheeldon shortened and condensed the ballet from its original production, whereas the RDB performs the longer version, which seems to go on forever. I could be completely mistaken about that. https://kglteater.dk/xtra/forestillinger/forestilling-alice-i-eventyrland?section=31521&fbclid=IwAR0du9YrjPXBL5DnuFFjjIwuGGXdvJMI3LVgnDMxfaLujY7rD6pQZ1LQ0xo

The Dutch National Ballet is streaming Ted Brandsen's Mata Hari.

While it's extremely important not to conflate modern dance with any one technique or choreographer, this short film in which Martha Graham describes the basics of her own technique includes very beautiful demonstrations of the use of gravity and the floor, as well as articulation of the torso.

EuroArts has the same video as the DVD, skycam and all. Only the three sections are posted separately.

You don't even need Amazon Prime. The Mariinsky's Jewels has been on the EuroArts You Tube channel for years. The only confusing bit is that the cover photos for Rubies and Diamonds are switched.

For example, in the video of Reichlen and Janzen, the opening steps are broad and strongly crossed, despite the tiny stage at the Guggenheim. These days this is the standard approach. Mearns' walk was much smaller, and Janzen adjusted himself to her. Farrell's steps were also quite small, and that looked just fine on her pear-shaped body, but I don't think it works for Mearns, given the "solidity" of her build. I would rather she work to her strengths. I wasn't thinking of the polonaise, but in comparing the partnering in the section that overlaps with the Kowroski-Angle video, it did seem to me that when emphazing positions, Mearns and Janzen slammed to a halt each time, and so the dancing did not appear fluent or effortless. To me Mearns looked too contained this time, with the exception of her head and hands, which she allowed to flop around a bit. I can see how this would come across as awkwardness or lack of refinement. Again, looking down a lot in order to appear "vulnerable" probably isn't the best approach for Mearns. She doesn't have Farrell's tiny head and long neck. What bothered me more, and more in Janzen than in Mearns, was the stiffness in the upper chest. Unlike Kowroski and Angle, whose movement seemed to begin low down in the core and whose arms moved like extensions of their backs, Janzen's arms in particular had a shallow movement quality that didn't seem especially connected to his core. I realize that he probably has a very high center of gravity, but surely so does Kowroski. Mearns and Janzen came nowhere close to the serene control of Kowroski and Angle. Call this modern dancer's bias, but I find it very difficult to enjoy dancers who lack a plush centeredness. No argument there. Russians were responsible for the atrocious "Diamonds" I've seen in recent years. Again, I need to emphasize that I came to this stream as someone who's been an evangelist for Mearns in "Diamonds." But I came away disappointed. The sweep and the magic I remember weren't there.

I'm afraid I also have to give Mearns a "thumbs down," and it surprises me very much to write that. I haven't lived in New York for a very long time, and prior to the "digital season" I hadn't seen New York City Ballet dance Jewels for 6 years. I have seen other companies dance the ballet in the interim, sometimes atrociously. One performance of "Diamonds" ranks as the worst thing I've seen this decade. In any case, the last time I saw "Diamonds" in New York, Sara Mearns was dancing, and I was immensely moved by her. Perhaps for some this was her "overwrought" period, but I adored her passionate performance. So I was really talking up this stream, and was surprised when someone wrote to me that she didn't enjoy the performance, because she found the leads awkward and stiff. I'm in a time zone where it's difficult for me to watch the NYCB streams when they go live, but when I was able to watch the performance I was shocked to find that I agreed. Right from the opening walks, I found Mearns' movement looked brittle and small, and delicate and deliberate doesn't suit her. There wasn't the previous abandon or flow, but there also wasn't crystalline purity or line in its place. Some of the partnering looked a little bumpy. Perhaps Mearns was attempting to take on some of Farrell's suggestions and they hadn't yet been fully absorbed. I don't blame Farrell. Her "Diamonds" sang, and Mearns' body was not singing. The performance seemed to amplify my misgivings about Balanchine's quasi-classical ballets. It reminded me of how much I dislike NYCB arms, with the claws and flapping wrists and absence of classical proportions. I found myself thinking that perhaps I liked French "Diamonds" best after all. Or maybe Mearns doesn't translate to video. Maybe you really just have to "be there" to experience her properly. Or maybe I've fallen out of love with her dancing. Mostly today I'm sorry I wasn't able to see the remainder of this performance.

English National Ballet is streaming Stina Quagebeur's Nora, inspried by Ibsen's A Doll's House. Available for 48 hours.